Illusion (2004) Online

The "Illusion" reminds me of Cinema Paradiso and Broadway Danny Rose in that it challenges the viewer to suspend its belief and follow the fantasy of second chances and missed opportunities. This is done in an effective manner with the main characters played by Kirk Douglas and Mike Goorjian.

The challenges of the film are evident in how much to show both the viewer and Douglas' character without giving away the whole truth. Goorjian's character is consistently interesting in that with no direct intervention of a patriarch, he is destined to attack life in unconventionally original ways. An example of this is the wooing of his first and only love by round-robin poetry. Douglas is very engaging, searching for his son through the only medium which he can relate-cinema. Understandably, neither character changes, until the very end.

It is a sad statement on the affairs of father/son relationships. Not being able/unwilling to relate seems to be the common theme in this film. However, when it counts, a true father's voice will always ring loud and clear. The performances are consistent and distant at the same time.

This is clearly a complex film which simply describes lost relationships rediscovered in the only medium that can truly impacts everyone. Yet its appeal can translate to all ages.

This film should be seen all and I feel that Kirk Douglas may finally have found his first Oscar.

If you were disappointed with 'Pride and Prejudice', fell asleep during 'The New World' and tried to get your money back from watching 'Elizabethtown' then you will be very well entertained by illusion. I was hooked about seven minutes into it when Mr. Baines (Douglas) reveals his notion of what romance is in film and literature. 'Illusion' only continues deliver. There are nougats of wisdom spread throughout an aesthetically rich canvas. Whenever there is a brief moment where you feel a line is too cinematically familiar there will be this raw emotion spilling out and for the first time you believe the words, because you feel the pain. The film is thick with visual and auditory nuances that make this movie a must-see-again, (i. e. notice how Cristopher always carries that same wallet in the same pocket and his pants will always be more worn in the same corner). There are mini-movies inside the movie each so different from the other yet with reoccurring themes. Plus, the soundtrack was awesome, even though I didn't recognize any of the songs. Oh, and also Christopher aged seamlessly. Lately it seems as though American film has had yearning for the extreme. As if the only ones worthy of their story being told on screen are those uncommonly brave in extraordinarily difficult situations who decide to take the difficult route. This is a film about average people who are in coincidental but plausible circumstances and who take the easy way out most of the time. These are things we all do. This is a story we have all lived; what makes this story special is that it was told by a spectacular cast and overseen by an incredible director with a vision of where American Cinema should be heading.

This is one of those stories that just adds up. I saw this at the Palm Springs film festival and was of course impressed by Kirk's performance but was impressed even more so by the nature of the story. Based on a french play, the conceit of the piece is clever and resonant. We would all like the opportunity to rewrite something about our lives, this takes that idea and the idea of love showing itself regardless of distance or time to a new level.

I think this is a great piece for families. While the audience I was with was rather old there is nothing in this that would not appeal to anyone who has a father, with whom they might have a difficult relationship or for that matter anyone with a child.

I saw the screening of this movie at the 2005 Sarasota Film Festival. The sold out theater LOVED this movie! Acting/story/directing was top notch. Mr. Goorgian charmed the viewers during the Q & A session after the screening. The story moved quickly and we couldn't wait to see the outcome. Mr. Douglas was excellent, but Mr. Goorjian stole the show with his acting. He stated that this film has strengthened the already solid bond between himself and his own father. "The best film of the Festival"...."It brought tears to my eyes"....."Excellent"....were some of the comments from film viewers. Every father and son should go see this movie.

This film is wonderfully moving and beautifully crafted. Kirk Douglas's performance was near perfect as the hard-headed businessman producer, a man's man, who has an experience that penetrates to the depth of his vulnerabilities. The scenes between Douglas and Ron Marasco as Stan are wonderful with captivating and moving performances on both sides.

Writer/director Michael Goorjian was nicely understated in his role as Douglas's son and Karen Tucker was charming as Isabelle.

We need more of this type of film. It has an uplifting message that leaves one smiling. It could have easily become saccharine and sentimental but does not. It made me smile.

We saw it paired with the short, "The 100% Perfect Girl" by Greg Boudreau, a marvelous combination.

Are the highlights of our lives inscribed in a great "Book of Life?" What kind of impact do our actions (and inactions) have on others' lives? Can we redeem the past with good works in the present? Can a movie that takes on these deep questions be captivating, entertaining and inspiring … all at once? In his new film, Illusion, director/writer/co-star Michael Goorjian answers these questions with an emphatic yes! Illusion is a love story pairing Christopher Baines (Goorjian) with Isabelle (Karen Tucker) in a dance of thwarted intentions. But it's Christopher's father, Donald, played by the legendary Kirk Douglas in a luminous performance, who may hold the key to their future. Donald, on his deathbed, regrets having forgone love in his life for the sake of his career, his biggest regret being the abandonment of Christopher, his illegitimate son, 30 years earlier. With some "magical" help from Stan (Ron Marasco), a long- deceased favorite film editor, Donald is shown three films -- three visions -- each representing a different period of Christopher's life, each reflecting the impact of his abandonment. In a romantic homage to Capra's classic It's A Wonderful Life, Goorjian masterfully leads us through the yearnings, the dangers and pathos, and the possibilities for redemption that we all face. This is terrific storytelling, a drama of life, love and death, with a tone and texture that lead us all to question, how real and immutable is this life we lead, and how much of it is just a fable, a dream, an Illusion? A treat for heart and soul.

The concept of our lives somehow being recorded by some celestial camera and ready for viewing at Judgment Day is an old one. What distinguishes Illusion is that there is no judgment except the one in your own mind as life on this plane ends.

That's what is happening to legendary film director Kirk Douglas as his life ends. During some dream he's visited by the ghost of a former film editor passed away long ago. And they go to the movies and see a life of his estranged son played by film creator Michael Goorjian and his pursuit of the love of his life Karen Tucker.

In the end Douglas asks for a different ending to the film and some heavenly editing.

Illusions is an ambitious undertaking and while it doesn't totally succeed there's enough there for us to enjoy and appreciate life. God knows we all look back at things we might have done differently, would we could edit out portions of our lives. In fact I'm not sure of an autobiography exists where the author is 100% truthful.

Goorjian and Douglas give wonderful performances. And Kirk did come back to do one more. But I think in many ways this is an epitaph film for him.

This is an outstanding film that will probably be seen by very few people. It is a film festival type movie. That translates in this case to a movie that is thoughtful, well written and performed exceptionally well.

I found this movie and many others like it, including a lot of short films, through the Spiritual Cinema Circle, which I have recently joined. Illusion was on their monthly DVD - Volume 5 2007.

Illusion is a delightful departure from the computer graphics, violence, and sameness prevalent in current popular movies. If you are a true movie buff like me and want to enter the world of very different movies, this is a great place to start.

I was privileged to see this film. Centered on the balcony scene from Romeo and Juliet, showing the poignancy of love held at a distance by circumstance, choice and fate, Baines [KD] and his son Christopher [MG] are trapped in a perfect play all taking place in one afternoon; a lifetime taking place in a canned film tragedy. Nonetheless, the other filmic choice, comedy, is also refused. No one ends as a clown, fool, nor failure. The film maker holds us in a limnal [threshold] space between tragedy and ultimate loss and comedy and a happy ending by allowing the healing connection to release one hero [KD] into Death and one [MG] into Life and Love. Although, this is a film about a film maker, the actors live their parts, rather then play them, so as Renee says, bring tissues. This film is a guy weepie that speaks to the painful gulf between fathers and sons, and also, the gulf men create when they cannot find their way in the world and find love at the same time. Yet, Love finds all. See it.

I studied this film for my book "Fade to Gray: Aging in American Cinema" (2016) and found it entirely surprising. The divergent reviews that other users have shared do not surprise me; the low-budget production and emotional story are going to put off some less sophisticated viewers. Yet if you want a film that deals with the unusual subject of how to account for your life in old age (not like the films about middle-aged folks to which this is erroneously compared), then this is a sensitive and intriguing take on the subject.

Kirk Douglas gives a compelling performance in his late 80s as a dying movie director confronting mystic visions of a son he never came to love, and perceptively conveys his cathartic liberation from egotism as he achieves grace in his final hours. Despite the limitations of the lengthy flashbacks to the son's life, the story comes together well, and anyone who is a parent can relate to the conclusion in which Douglas just wants his unknown son to be happy.

Not many American films afford elder characters such dignified deaths. In fact, my co-author Nancy McVittie and I studied hundreds of U.S. films about older people and found very few that portrayed them dying with dignity (most of the time their deaths are dramatic and sensational, or more often, completely postponed or set off screen). This is the list we would count in the "dignified" category, although of course others are arguable:

Heaven Can Wait (1943); Kim (1950); Little Big Man (1970); Being There (1979); Rocket Gibraltar; (1988); Meet Joe Black (1998); Big Fish (2003); The Bucket List (2007); Hannah Free (2009); Beginners (2010)

What a wonderful movie. I loved it so much that I never want to see it again, but I know that eventually I will pick this movie back up and watch it again. I know what you're thinking, She's crazy what's she talking about? What I am talking about is simply this, the movie made me laugh, it made me cry and it made me think all about the things that I did in life up until now. It made me think about those I left behind and or whom left me behind. It made me feel things that I did not want to feel, that I thought I had l gotten over. I do not think that I could handle watching this movie again, but I know eventually I will give it another watch or two, or three because it was that great. I loved it.

I do not know what or why Kirk Douglas or the innocent audience members could possibly have done to be punished to be held captive watching such amateurish drivel of a script and performances. Mr. Douglas despite his speech impediment due to his stroke is still light years away from this excercise in complete inanity and is the only bright spot in the whole proceedings. The script's contrivances are so obvioous that they cause unexpected laughter. When your main hero is a clod and heroine a cloddess there is very little to root for along with such arch melodramatics from the varied clichéd antoganists ie: performance arts villain, corporate nerd villain and gas station meanie villain. It gives one hope that death will release all of us from this hideous collection of vignettes that are suppose to give us a morality tale to take to heart. I would advise to take to the hills if ever you meet this mess of a movie again!